Electrical clarinet



L. F. L. "aRNOLD ELECTRICAL CLARINET Nov. 10, 1942.

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Nov. l0, 1942. 1 F. J. ARNOLD ELECTRICAL CLARINET Filed Jan. 23, 1941 l2 Sheets-Sheet 8 we mil mw ma me f SPEAKER :AMPLIFIER 'TON E PRODUCING PPARATUS fnl/enfin* 14K orfzey Y By a NOV. l0, 1942. F, J, ARNQLI; v 2,301,184

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Patented Nov. 10, 1942 UNITED STATES PATENT orifice ELECTRICAL CLARINET Leo F. J. Arnold, Washington, D. C. Application January 23, 1941, Serial No. 375,546

34 Claims. (Gl. 84l.01)

(Granted under the act of March 3, 1883, as amended April 30, 1928; 370 0. G. '157) This invention described herein may be manufactured and used by or for the Government for governmental purposes, without the payment to me of any royalty thereon.

My invention relates generally to musical instruments, but more particularly it is directed to an electrical clarinet, having a keying system within the framework of the Boehm system clarinet, whilesupplementing this system by the use of additional-keys and other means which ex- 4tend and simplify the Boehm system of nger-' provide an electrical music instrument of thev clarinet type, having facilities for producing an improved and true quality of tone of extended range, and which is simplified sufliciently with respect to fingering and other technical requirements to enable a novice to attain proficiency in the-playing ofthe instrument and a professionalv to render a more accurate and masterful performance than is ordinarily possible withv conventional wood-wind instruments in common use today.

The invention herein disemsed is illustrated in trol of volume and tremolo-one variable circuit, only, being used for this latter control.

The mouthpiece of 'this electrical clarinet is adapted with a device to control the tone circuits; said tone circuits being employed in connection with various elements, such, for example, as oscillating tubes, rotating discs, photo-electric ceils, condensers, resistances, amplifying means, and/or other elements commonly known to those familiar with the art of producing musical sounds by electrical means, to produce the clarinet tone quality in the range of the herein described instrument, resulting in tones of correct A pitch, of remarkable purity and clearness, and of pleasing quality, over the entire range of nearly six octaves, of said instrument.

connection with the clarinet. However, it is of such a nature as to allow its application to various other instruments, also, as will be shown subsequently.

The term reed clarinet will be used to distinguish the clarinet in common use today, in which the tone is produced by a reed of cane excited by the breath of the performer, from the electrical clarinet described herein. in which the tone is produced and controlled electrically.

It will help to understand the principles of this invention by noting that instead of having a Thus the reed of cane as employed on the reed clarinet, to supply the vibrations and other tonal properties, is eliminated with all its imperfections and dimculties, and instead, electrical oscillations or vibrations are employed, in addition to other necessary elements, to produce and control the frequencies, timbre and other properties required for well rounded musical tones.

The register circuits are in control of the tone circuits in. that they operate gang switchesthrough which the tone circuits must pass before reaching the tone-generator, and thereby laid in making lpossible the extensive range of the. clarinet. A

The electrical clarinet set forth herein, may be fingered identically the same as the Boehm reed clarinet, from the lowest tone of said Boehm clarinet, which ordinarily is E flat on the fourth space below the treble clef on theV 2li-keyed clarinet, up to and including C on the second line Iabovelthe treble clef; with simplified and improved iingerings from C sharp on the second y line abovethe treble clef, upto and inluding the vibrating column of air Iinside the tube of the* clarinet foreach tone produced, as is done with the reed clarinet, the tube is now adapted to control electrical circuits-one circuit for each` tone produced, another independent and simultaneous circuit for the control of each register,

highest note possible on the Boehm clarinet'. Numerous other fingerlngs exist in all five registers of this electric clarinet which are not at all possible on the Boehmsaid iingerings greatly simplifying and improving its technic over thatv of the Boehmclarinet andbe` easy to acquire and master. An experienced playerl on the Boehm reed clarinet will have little diillculty in mastering the complete fingering of this electric clarinet, while other woodwind players may also readily double on it, due to the simplified mouthpiece operation and control.

In the main my invention consists of the mouthpiece manual, Fig. l, a switchboard or register control, Figs. 20 and 21, and a tone genand still another independent circuit for the con- -erating and producing unit, Fig. 16, but it will be the performer to numorthe defective tones to y bring them in tune. Furthermore, heat affects the pitch, causing it to become sharper, while cold has the opposite effect. The condition of the mouthpiece, reed and embouchure may also easily affect Athe pitch in an adverse manner.

(b) Due'to the construction of the tube and holes or the reed clarinet, together with slight imperfections in the mouthpiece or reed, it is quite'dinicult to produce scales and other musical progressions in which all tones are evenly balanced in strength and quality.

(c) While the Boehm system of fingering, as employed on the reed clarinet, is suflicient to perrnii-I a fluent technic in most keys, there are still very many technically difilcult and awkward passages. The technic of the herein disclosed instrument is simplified and advanced to such a degree over all conventional woodwind instruments, as will be shown subsequently, that many of said technically diillcult and awkward passages common to the Boehm system or other woodwind instruments are materially (d) Certain trills on the reed clarinet canno be executed perfectly, due either to faulty intonation or diiiicult mechanical manipulation.

Y (e) The reed and mouthpiece are a great source of trouble and anxiety to all players on the reed clarinet. The most skilled player is at the mercy of his reed, which, if not of the proper quality or if `not carefully handled, will resultsin simplified or i eliminated entirely.

l 3 B flat clarinet, is employed, its upper range is difiicult to handle satisfactorily and ordinarily only one E flat clarinet is employed. While the flute and piccolo, which have a high range, are

also employed in bands, the piccolo is ordinarily used only for special effects, and though the flute may be employed over a considerable range, its voice is weak and therefore much of it is lost.

It is, of'course, possible to sound tones on the reed clarinet, higher than the G referred to, but due to lipping and diiilcult fingering of such ltones, this G may. be considered the resonable upper limit of the reedclarinet. The entire practical range of the reed clarinet, then is:

, bhl not) E flat, indicated, being the lowest tone of the 2li-keyed clarinet, and. G being the reasonable upper limit. The range of the electrical clarinet disclosed herein, extends from:

. h' (n, not).

which is an increase of two octavosl plus an interval of a fourth, over the 'practical range of the reed clarinet.

poor' tone quality or poor intonation, or both; A

furthermore, if the reed is not lipped properly or if the fingers fail to hermetically seal the' tube 4 of the instrument over the functioning section of it, a squeak will be likely to result and thereby mar the finest performance. The reed and mouthpiece are undoubtedly the weakest part of all reed instruments, since the tone and to a large extent even a free and rapid technic, are

dependent `to such a great degree` upon their proper functioning.

(J) The art of tonguing with speed and qual-A ity on the reed clarinet is one of the most dimcult features to acquire and maintain, especially if the passage to be played is of considerable length. Furthermore, a performer on a reed instrument is hunted to single tonguing only, and is lthus handicapped in competing with players on istrumentsjwith which -it is natural to single, double and triple tongue. I am Aaware that a few players claim to be able to double and triple tongue on certain reed instruments, but the ma- (h) Correct embouchure. is decidedly diillcult to acquire in playing the reed clarinet, and after the correct embouchure has been developed it can be maintained only with constant practice, otherwise the'pla'ying of the instrument will suffer. Should the loss of one or more teeth occur, or should the lips become impaired, it would be likely tolsiause the performer considerable dimculty in' ai'htaining his former ability. Furthermore, with most individuals, after the teeth have reached their full development there is usually a gradual wearing on the incisa'l edges, in addition toI other natural changes,v .which aects the covering of the lip over the teeth and the balancing and grip of the mouthpiece and instrument', which in turn affects the embouchure adversely, thus presenting a contributing cause to the dimculty experienced by many players on reed instruments to play well as vthey advance in age, The quality and speed of tonguing, in addition to tone production, depend largely on the condition of thev embouchure, therefore as the embouchure deteriorates, the ability to tongue well and to produce a pleasing tone is likely to deteriorate with it. As the tone of the herein disclosed instrument is generated and produced en-l tirely electrically, and -not by a reed of cane, and further, as the tonguing is controlled almost entirely by the action of air from the lungs in conjunction with the action of the tongue, it will be apparent that embouchure, as applied to the reed clarinet and other conventional woodwind instruments, is eliminated almost entirely. However, it has been determined that embouchure of a certain new character (the term embouchure being broadly applied in this easel will berequired to play this electric instrument properly; but this will consist mainly in (a) the ac tion of the lips compressing around the mouthpiece to direct a column of air inside; (b) the action of the tongue and throat combined to produce the double and triple tongue articula; tions, as ordinarily executed on the flute and brass instruments to which these articulations are commonly applied; and (c) the employment of the jaws and lips combined to help hold and balance the clarinet and to manipulate the volume and tremolo control from the mouthpiece.

While the above imperfections and difficulties discussed under points (a) to (h) inclusive, have been directed to the clarinet, those familiar with the art of playing woodwind instruments, in igennu eral, know that most of said imperfections and dimculties common to the reed clarinet are also common in varying degrees to the other conven tional woodwind instruments. Y

The following general and specific objects oi my invention will be apparent from the previous;` discussion and the accompanyl speciflcativm, while other objects will be apparent to tin familiar with the art to which. iireeent in volition. relates Generol objects:

(l) To provide an electrical instrument oi t woodwind type which lessons. or is entirelyr i'rec from many of the imperfections and difficulties attendant the reed clarinet and other woodwind instruments in common, nto.

(2) To provide an electrical instrument of woodwind type which may be played and mastered more readily than conventional woodwind instruments in present day use.

(3) To provide an electrical system oi inter-m wirng of tone switches, interwiring; of register switches, switch construction and manipulation, 'key construction and manipulation, and mouth piece control, in addition to the other features herein disclosed, which may be easily and inc-lt pensvely adapted and applied to the body ci the conventional Boehm clarinet, or to any ottici' suitably similar body.

Other objects: l

(4l To provide an electrical instrument ol the woodwind type, with means for ntoducinu tonen of improved quality, anti tones tvliicls remain constant in quality 'under all conditions.

(53 To provide an electrical lnstrummt ol tlio woodwind type with a simplified and improv@ fingering system, and which still retains the con# ventional Boehm system oi (6l To provide an electrical instrument ol tint woodwind type which mailr be adapted to he linM gered the same as the conventional oboe, nuto, saxophone, or other desired instrument or smo; tem. f

('1 l To provide an electrical inotniment oi tito woodwind type with various keys not on couventu tional woodwind instruments, to iucilitate tech-- nic or to extend range.

(8) To provide an electrical instrument of the Woodwind type with overlapping iingerinu facili ties between all registers, 4to facilitate the con nection oi said registers while playing the inoltrom ment.

(il) To provide an electrical instrument oi t intonation and. mechanical man" n;

(lo) To provide an electrical nuanced, as in the course oi mu euitioucluue only in. no "proc onor s ci all tones ot perfect pitch. the tempel-od scale; tones which remain constant in pitch. gardless of heat or cold; and tones which are not dependent on the human embouchure for pitch clarinet, are eliini.

(it) 'lo provide on elec the woodwind which cloni oi? tile liuncon embouchure plot' (lil) llo provide on electrico/l instru" Woodwind type which o electric orc (lli) Woodwind which is adopted to control t ferent electrical circuit lor the sound: tone in the complete range of the inst-ruin (lli To provide on electrical instrume the Woodwind type which muy loe adapten o produce entf single type oi tone color or timbro desire lill) llo provide an electrical instrument ol' tite Woodwind tune which operated :and conu troliol in? combination o. uiucls plus breath,

tl o on to conventional lteylooord instruinentc tv ore operated. to' the fingers alone (lill To `ovidio on electrical instrument oi' tviue with on. intel-nal villino: und other construction oi operable tric ciiicil i'ltvl 'Zlio provide ou. electrico'.

i i stvitclililodes will l the oi toe instrtunent. i lool uistrtunent oi ootlvvlnd type which .is adopted. with o piece contoinlnu o master switch erroneo-- tot the control oi electrical circuits.

l yllo provide o mouthpiece adopted with switch urroiluement iol1 the control ol circuits, which niet' also be applied y ol' electrical musicul instruments, or

.el l. `vits or arrangements.

lill lo provide mouthpiece 'with electrical meollo to control volume ond tiemolo oi tones under itc control.

(Stil 'llo provide un electrical instrument ol' tite woodwind type with o. system oi i'egistA f 3T the of (26) To provide an external switching system i or register changing mechanism, whereby various keys of an electrical instrument of the woodwind type may be utilized selectively to sound more than one tone. l

(27) To provide a system of switchboard interwiring, whereby duplicate ilngerings may be utilized in the same capacity.

(28) To provide an electrical instrument of the woodwind type with keys of the general type as used on conventional woodwind instruments, but" which are adapted with pistons or plungers for the operation oi electrical switches.

' (29) To provide an electrical instrument of the woodwind type with means whereby individual keys 'of the manual may be utilized in a dual capacity in'the same register, or in -entirely different capacities.

(30) To provide means for carrying and connecting the manual circuits to the switchboard and tone generator.

(31) To provide means for insulation between the manual circuits and the performers hands and mouth.

With these and other objects in view, the invention consists of certain features of construction and operation of parts which will hereinafter appear, and in which- Fig. 1 is an elevation ofthe electrical clarinet manual showing the arrangement of the keys,

anda rear view of the terminal panel attached thereto;

Fig. 2 is an elevation of the clarinet rotated about its longitudinal axis so as to expose to view keys not shown in Fig. l;

Fig. 3 is an elevation of the clarinet rotated about vits longitudinal axis so as to expose to View keys not shown in either Fig. l or Fig. 2;

Fig. 4 is a sectionized view of the clarinet, showing the internal core on which the switch contacts, wiring and other elements are mounted;

Fig. 4a is an enlarged view of a portion of the core illustrated in Fig. 4, showing the switch construction and the arrangement of the electrical connections;

Fig. 5 is an elevation, illustrating the exterior of the clarinet and showing the arrangement and construction of parts of the piston switch operating mechanism of the upper section of the instrument;

Fig. 5a is a sectionized view taken on the line 5-5 of Fig. 5, in the direction of the arrows. illustrating the construction of the dual functioning of key Kil; Y

Fig. 6 is a partially sectionized view of the upper section of the clarinet, shown in Fig. 5. rotated to further illustrate the construction of the piston switch operating mechanism;

Fig. 7 is an exterior elevation showing part of the piston switch operating mechanism of the lower section of the clarinet;

Fig. V8 is an exterior elevation of the lower section of the clarinet shown in Fig. 7, rotated to further illustrate the piston switch operating mechanism;

Fig. 9 is a top plan view of the terminal panel and clamp for attaching same to the manual;

Fig. 10 is a top plan view of the complementary contact panel which is adapted for attachment to the terminal panel shown in Fig. 9;

Fig. l1 is a sectionized view of the terminal panel and contact panel united as in operative position; i

Fig. 12 is a sectionized view of one fonn of mouthpiece, and a portion of the upper section of the clarinet, showing the construction of the air controlled master `switch and its connection to two illustrational tone switches of the manual;

Fig. 13 is a plan view in developed form of 5 switch operating mechanism shown partially in Fig. 5:

Fig. 14 is a perspective, illustrating the arrangement of the handle of K26, ring Ilw, and piston of Kil, shown in Fig. 13;

Fig. 15 is a combined sectionized view of. a modified form of mouthpiece provided with a rheostat type of volume control, in addition to a master switch;

Fig. 16 is a diagrammatic view showing the arrangement of the units of the tone apparatus, amplifier and speaker, adapted to be electrically connected with the mouthpiece shown in Fig. l5;

Fig. 17 is a' sectionized view taken on the line i1-I1 in Fig. 15;

Fig. 18 is a diagrammatic view of the complete system of tone wiring and switches therewith, of the manual, with leadout 'conductors to the terminal panel; f

Fig. 19 is a diagrammatic view of the complete system of register wiring and switches therewith, of the manual, with leadout conductors to the terminal panel;

rig. 2o is s diagrammatic plan view of the left hand section of the register control board or A right hand section of theregister control board interwiring between switches, and leadout connections from switches to the cable;

Fig. 22a is a top plan view of a switchblade, showing restricted portion for reception of contact element;

Fig. 22h is a top plan view of a switchblade with contact element attached thereto;

Fig. 22c is a perspective view, showing a switchblade and terminal assembly;

Fig. 22d is a sectionized view showing an internally and externally threaded insert sleeve:

Fig. 22e is an elevation of a screw, adapted to engage the internal threads of the insert sleeve shown in Fig. 23d;

Fig. 22j is a perspective, showing a piston key assembly;

Fig. 23 is a diagrammatic view illustrating the control of switch i9 over switches 22 and 23, and

.'Fig. 27 is a diagrammatic view illustrating the isolation of switch ii and connection of switch la, throughrthe operatively depressed ancillary switch a:l

Fig. 28 is a diagrammatic register switch positions and connections during the first register control;

Fig. 29 is a diagrammatic view illustrating the register switch positions and connections during the second register control;

Fig. 30 is a diagrammatic view illustrating the register switch positions and connections during the secondary third-register control;

Fig. 31 is a diagrammatic view illustrating the .resister switch positions and connections during the primary third register control;

, Fig. 32 is a diagrammatic view illustrtating the register switch positions and connections during the fourth register control;

Fig. 33 is a ditic view illustrating the register switch positions and connections during the fifth register control; l Fig. 34 is a chart illustrating the interwiring of duplicate or' overlapping switches on the switchboard, and conductors therefrom;

y. 35 is a chart showing which ilngers are operatively depressed on keys, and which switches areoperatively depressed or operatively elevated thereby, togcause all of the tone leadouts from i to!! inclusive, of the manual, to function; and

Fig. 35a'is a continuation of the fingering chart shown in Fig. 35.

Fig. 35h is an elevation of a portion of the clarinet rotated about its longitudinal axis so as to expo to view keys Kli and Kla, not shown in Fig. 35.

Gunnar. Cossraucrrxon No Cnsaacrnarsrlcs Relative to the construction of the clarinet,lit will be seen by reference to Figs, 1, 2 and 3, that the instrument comprises a mouthpiece |05, and tubular frame sections |92, IIB, III and IIS, forming a body similar to that of the conventional Boehm clarinet of 20 keys and 7 rings, although the electric clarinet which forms the subject matter herein, is not limited-to the emplyment of that particular number of keys andrrin'gs. Furthermore, the tubular frame sections-I, Ill and I I3 may be practically formed in one united section, or lmbroken unit, if desired, instead of three separate sections as illustrated.`

To the 20 keys and 'l rins oi' thoonventional Boehm system have been added: (d) 18 new'keys, (b) pistons, (c) switches. (d) wiring, (e) a core to hold the switches, wiring and other elements, (f) a cable, (a) a master switch and rheostat arrangement to the conventional mouthpiece, (h)- externally of the manual, the switchboard arrangement shcwn ln Figs. 20 and 21--and finally, (i) the wiring necessary to complete the circuits and connections through the manual and switching arrangement to the tone generator, all of which will be further described.

The barrel joint |02, shown in Figs.' 1 and 12, ofthe conventional clarinet may also be utilized on this .electric clarinet as it provides a convenientmeans to reach the master switch contacts lll and IIS, and also to insert or remove the cylinder I". The bell N3, of the conventional clarinet mayalso be employed, but it will be apparent that its use will be primarily omamental.

.VWith the herein described clarinet manual itis possible to manipulate and control 95 tone circulta and 5 "register circuits. By tone circuit ,il meant one identified directly with the sounding of a tone. and by register circuit is meant' one illustrating the' tlaid utilised to energias an electro-magnet which pulls gang switches on the switchboard arrangement.

'lhe 95 'tone circuits are used in the sounding of ill tones, which is explained by the condi tion that several tones overlap between each register, as illustrated in the scale chart hereinafter to be referred to. The 7 upper chromatic iluigerings of the first register of the manual overlap the 7 chromatic fingerings of the lower part of the second register, therefore 'l circuits overlap, or they are duplicates of each other. A somewhat similar condition exists between the other registers. This overlapping of registers of the manual is a decided advantage technically in the execution of certain trills, intervals and passages,

as will be apparent to those familiar with'the technic of the reed clarinet or other similar instrument.

'With the mouthpiece I have devised for the clarinet, al1 tone circuits are immediately controlled by the breath, tongue and throat of the performer, in that they may be allowed to function for various lengths of time, thus making possible the various articulations of legato and staccato required in the performance of musical compositions. Single, double and triple tongue articulations may be produced and controlled with ease, and the fact that this tonguing is not dependent on embouchure as on the reed 'clarinet, aords the means for advancement in the art of clarinet playing in this. respect. The mouthpiece also has direct control of the tones as regards volume and tremolo, through a rheostat control located on the mouthpiece and operated by pressure from the jaws of the performer. This volume and tremolo control is independent of the master switch in the mouthpiece which controls th articulation of the tone circuits. The mouthpiece therefore exercises a 40 dual control, i. e., (a) articulation, and (b) volume and tremolo.

The clarinet herein disclosed has a range of 6 octaves lacking 3 semitones, which is an extension of an octave lower and an octave and an interval of a fourth above the practical range of the reed clarinet. This extensive range is obtained mainly through (a) an easy change of fingering from the Boehm system, from C sharp on the second line above the treble clef up to and 50. including the highest note possible on the reed clarinet, and (b) through the addition of certain new keys, namely register keys KM, K25, KZG, KN, auxiliary tone key Kla, and key Kila, which enable the employment of five different registers of range. It will be apparent that such an extensive range places this clarinet in a distinct class from clarinets of the reed type, as it takes in the range covered by bass clarinet, B flat and E Ilat clarinet, combined, plus an octave above the practical range of the E ilat clarinet.

While this invention is intended primarily to produce the tones of the clarinet quality, it will be apparent that it may also be used to produce tones of any other desired timbre which the elec- 05 trical tone producing unit is designed to gencrate, since theV manual functions as a keying" or triggering means to selectively cause the emission of tones by a sound apparatus. Triggering is accomplished through the combined action of the mouthpiece and keys to control circuits from the manual to electron valves, potentiometers, or any other electrical sounding or controlling means possible in the art.

While the invention herein disclosed is illusrated directly in connection with the clarinet,

plied to various other instruments, without departing from the spirit and limits of the present invention. To .be more explicit-'I may take the conventional oboe in common use today, and, with slight modifications, adapt it with the system of wiring,l switches, key pistons, mouthpiece control and other elements herein disclosed relative 'to the manual and switchboard, and with proper harmonic control and adjustment of the tone generator and amplification, I will then have an electric oboe.

Further-various special bodies may be constructed to hold and operate the elements herein illustrated relative to the manual; then with the switchboard system and an appropriate tone generating unit Aand amplification, I may have an electric flute, English horn, bassoon, 'saxophone or other desired individual instrument. In fact, as will be apparent to one skilled in the electrical music art, it will be practical through the facilities of this invention, to build a great number' and variety of individual, small and readily transportable electrical music instruments of the same general type as of the instrument herein disclosed.

It is practical to construct the manual of my invention rather inexpensively, due to the fact that the tube or body does not require a special kind of wood which has been carefully seasoned for years to prevent cracking, neither is it necessary to have the holes and bore of the tube ni'shed with the extreme precision required for the reed clarinet. It wil1 be apparent that the main expense of construction of a complete electrical instrument of this type will lie with the tone generating and amplifying means, which, it must be remembered, is required to produce but one tone at a time and but one type of tone color, in distinction to the elements and means required in the construction of electric organs; therefore the construction of a complete electric clarinet in quantities and of reasonable and minimum expense will depend upon thev state ofthe electrical music art and the ingenuity ofthe constructor.

VMouthpiece Two forms of mouthpiece are shown in Figs.

12 and 15, either of which may be used with the instrument.l The ilrst form shown in Fig. 12, comprises chiefly, (a) a small cylinder |09, over y one end of which is slidably iitted a cup III,

While the other end of, the cylinder through which the air enters, is adapted With an opeen end piece or cross-bar I I0 to which is attached a spring |I2; and (b) a holder |05, which may conveniently be the usual form of mouthpiece as employed on reed clarinets. The cylinder and cup are preferably made of non-rust material.

Holder |05,-is adapted with an adjustable element |0I (see also Fig. 2) which is used to regulate the gap for entrance of air into the mouthpiece, and to afford with the end |05' of the holderv |05, a suitable grip in the mouth of the performer. by means of ligature |06 and screw |01.

Cup I I| is held in position against the cylinder |09 by a spring I2, oneend of which is attached to the cup by means of hook contact |I3, the other end being attached to adjustably threaded bolt I I4, which is in turn held by crossbar ||0. Bolt I I4 is retained and regulated 'by lock nuts I I5.

The element |0| is held in place Cylinder |00 is surrounded by a cork band |08, 75

in blowing or Vtonguing.

Cylinder |09 is further adapted to bev conrtactcd by Ascrew H8, which goes throughy the wall of the holder |05 and also through cork band |08. Screw II8 is in turn contacted by metallic spring element I I'| which is attached permanently to the core 5A and held against screw II8 by its own tension. This arrangement allows the joint end Il!!` of the holder |05, to be removed or inserted inside the joint end |02' of the intermediate section |02 commonly called the barrel joint on the conventional clarinet. Further, the screw IIB and the cork band |00 allow the cylinder with its cup to be removed from the holder |05.

Holder |05 may be conveniently provided with a small vent HI to allow the escape of air, in order to facilitate the functioning of the mouthpiece; intermediate section |02 may be provided with a vent H2 to allow the escape of air and moisture from the breath which may leak into this compartment.

At a convenient distance of between oneeighth and.-onesixteenth of an inch from the "cup contact ||3, is located the mate contact elecore 5A inside the tube of the manual. Contact points ||3 and ||6 maybe made of silver, or other suitable contact materialsuch as platinum iridium points may be used.

It will be apparent from the construction described, that when air from the lungs is blown into cylinder |09, through the open tube |20 and end piece |I0, with suliicient energy to overcome the strength of spring ||2, that the cup II I will move along cylinder |09 until point ||3 comes into contact with point IIS, thus closing the switch located at that place.

The pathof the circuit in going through the mouthpiece will be from conductor R50, through screw 50', spring element screw IIB, cylinder |09, cup III, and contact points II3 and IIB, from where it continues over conductor 24K to the first tone switch inside the manual, and then to the other tone switches as illustrated in Fig. 18, which will be described subsequently.

Through the facilities of the mouthpiece just described, a "master switch is thus provided over` all of the to'ne switches of the entireA clarinet, for it will be apparent that no -tone switch can function unless the master switch in the mouthpiece is first closed. This master switch being operated by air fromthe lungs which is controlled by the tongue and throat of the performer, enables a very rapid articulation of the tones produced by the clarinet.

Various manuals, electric keyboards and remote controls are commonly employed in the periormance of musical compositions, but to the best of my knowledge no electric manual has heretofore been devised which provides for a combination control of breath plus lingers over the tones manipulated, as does the manual which is herein disclosed. Through thel employment of double tongue articulations. the master switch in the mouthpiece may be readily made to function '700 or more times per minute, thus making possible that number of detached tones per minute. It would obviously be impractical, or pervhaps impossible, to reiterate a tone '100 times per minute by the use of one finger on a conventional keyboard, or by single tonguing on a reed instrument. Conventional keyboards are also handicapped in creating the proper nuances in articulations, especially mixed articulations consisting of slurs and staccatos. With the herein described invention the manual may exercise almost perfect control in that respect, being limited only by the capacity or capability of the tone unit which it controls.

The second type of mouthpiece, shown in Fig. 15, is similar to the first, also being provided with a master switch as described for the first, and in addition to this is adapted with a rheostat control consisting of the resistance coil |26 surrounding the mouthpiece, and a pivotally mounted contact arm or lever |25. This rheostat is independent of the master switch inside. The coil gradually increases in the length of its wrapping from forward to rear as illustrated in Fig. 15, passes over an L-shaped attachment |22, shown in Fig. 17, is forced inward against attachment |22 and held in this position byhorizontal strip |23. This construction provides a projecting sloping edge |24 shown in Figs. 17 and l5, along which the pivotally mounted contact arm |25 may be moved. The end |25 of the arm reacts against a spring |21, which tends to move the contact arm |25 upward along the sloping edge |24 of the resistance coil. The lever contact member |25 is operated by jaw pressure of the performer, whose lower lip and jaw contact the forward end |25' which is made of nonconducting material.

Fig. 15 illustrates the lever member |25 in the position occupied when acted upon by the maximum jaw pressure, bringing the end of contact lever |25 into contact with point Rl of the re sistance coil. The current having entered the coil at point |26', it will be apparent that the rheostat will be functioning at its least electrical resistance and therefore most power at that time. As the jaw pressure is gradually released, spring |21 will cause the lever |25 to move along the contact edge |24 of the coil from point RI until it reaches the point R2, where at point R2 the rheostat will function at its greatest amount of electrical resistance and therefore at its least power. Point |26' of the coil and lever |25 are connected through conductors R60 and R6| re spectively, to the power circuit of the amplier 2|3a of the tone producing apparatus, as shown in Figs. 15, 16 and 18. Therefore when no jaw pressure is applied to the lever |25, leaving it in its normal position and contacting point R2, the rheostat will allow the amplifier to function at its least amount of power, and conversely, as the jaw pressure is gradually applied the rheostat will allow the amplifier to function at a greater degree of volume until the maximum is reached at point RI, which operative position is illustrated in Fig. 15. l

With the rheostat arrangement just described, in addition to volume control, it may also be utilized to impart a slight tremolo effect, through a regular shifting of the lever |25 up and down along the contact edge |24 of the coil, by the action of the laws.

With the first type of mouthpiece described,

control may be effected through a conventional foot pedal arrangements as on electric organs, or other similar devices may be employed.

Numerous changes and modifications may be made in the construction and design of the two types of mouthpiece which have been described, without departing from the spirit and scope of this phase of my invention which is intended primarily to present a mouthpiece with a wind operated and controlled master switch and a rheostat arrangement for control of volume.

Construction and operation of keys of the manual All keys which are conventional on the 20 key, 'I ring, Boehm clarinet are constructed and manipulated in the same conventional manner on this electric clarinet, with a few inconse quential exceptions. One exception is that key KIS, of Fig. 5, is entirely free from key K|8 on the electric clarinet, which facilitates the manipulation of KIS and K21 which is `attached to it; the other exception is that the piston end of K|6, shown in Fig. 2, is located farther down on the body of the manual to provide a convenient place for K25, which occupies the place held by the cup of K|6 on the conventional clarinet.

However, all keys of this electric clarinet which are directly concerned with the operation of a switch have been provided with pistons or plungers on the cup end, as illustrated by the keys shown in' Fig. 23 and further illustrated by keys KIS and K21 in Fig. 6.

- Fig. 22j' illustrates one manner of attaching the pistons to the keys. It may be conveniently done by means of a threaded screw 13, which is screwedthrough the cup 14 of the key and into the piston 15. The cup 14 is of sufficient thickness to allow screw 13 to be sunk even with the top surface of the cup. Other practical ways to secure the pistons to the keys will be apparent and may be utilized if so desired.

It may be noted that key K6 of Fig. 22 has a handle or pressure plate which is to be contacted by a' finger of the player, as on the conventionl reed clarinet, while the cup end K'liolds the piston or plunger P6 for the purpose of de pressing the switch blade 6c, controlled by it, The other conventional keys of this clarinet function in a similar manner, being also adapted with pistons for the depression of switchblades as explained for K6.

In reference to new keys "K5, K1, K8, K|0, K|2

' and KII illustrated in Figs. 5, 6, '1 and 8, these which is not adapted with a volume control, this are attached to the rods or shafts S93 and S94 whichnormally hold only the rings on the Boehm clarinet, or theyV may be attached in any other convenient or practical manner. Reference to Fig. 22 shows the springs 46 and 12 which keep keys K8 and K1 automatically elevated when not depressed by a finger. Fig. '1 shows hooks H8, H1 and H5 which keep keys K8, K1 and K5 from opening too high. All new keys, K5, K1, K8, K|0, K|2 and K|4function as illustrated for the keys in Fig. 22, and are also provided with pistons to depress the switchblades operated by them.

The I8 new'keys shown in Figs. 1 and 2, which have been added to theconventional Boehm system are: register keys K24, K25, K2E and K21; tone keys K23, K22, K|5, K|4, K|2, KIU, K8, K1, K5; auxiliary tone keys K|5a, and K5a and other keys K|2a, K|5| and K| extension. Key K23 new, shown in Figs. 5, 1 and 2, with piston normally elevated, is attached to key K2| 

